well not the prequels but the other ones

consider watching black sails

it’s a tv show that is a treasure island prequel, so it’s a pirate show but it’s also so much more than that. it’s 4 seasons long and just ended so I can finally recommend it without fear of regretting it. it has

  • lgb representation (5 characters, 4 mains, spoiler: only one of them dies)
  • well written female characters who get to interact with each other!! very often while watching s4 I would see 2 women talk to each other and be important to the plot and I would just suddenly realize how rare that is in other shows
  • sex workers who are written like human beings (and spoiler: manage to leave that behind)
  • amazing writing in general
  • gorgeous cinematography
  • GREAT soundtrack
  • complex characters!!!! 
  • gay love is the center of the show

warnings: rape tw for season 1, and it’s a pirate show so it can get violent and bloody

feel free to add anything, it’s past 1am so forgive me if i’m forgetting stuff


Star Wars Age!Squash AU, Comic #02

Initiate Era - Master Dooku & Qui-Gon

Master Dooku has the highest standards and only chooses the most elite of the elite as his apprentices. Initiate Jinn is a prodigy and looks perfect on the records and is also exceptionally gifted in sensing the Living Force. Master Dooku thought he would make the perfect Padawan. Sometimes, Master Dooku is wrong.

Or, Master Dooku has to bribe a young Padawan Qui-Gon with Obi-Wan’s company in order to get him to do anything.

[A/N] In this AU where everyone is happy, almost no one is evil and everyone lives, Master Dooku is that grumpy grandpa who looks super scary but is actually ridiculously soft once you get to know him. Qui-Gon is his third apprentice, and all three of his Padawans are ridiculously rebellious (and spoiled) in their own ways. You’ll meet the other two soon <3

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Confused? Have no idea why Qui-Gon and Obi-Wan are only 3 years apart?

vvv Click the link below! vvv

This is part of the Star Wars Age!Squash AU. Find all other posts through THIS MASTERPOST. Update schedule for future posts will also be on the Masterpost!

- ̗̀  plots inspired by divide // ed sheeran  ̖́-

under the cut you’ll find possible plots for every single song ( 16  )  +1 extra for supermarket flowers from the album ‘divide’ by ed sheeran. everything can, of course, be altered to your likings as these were just some of my ideas. i linked the songs so that you can be inspired a little more as you’re reading the plot!

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Did you see Rogue One? (Spoilers)

In addition to important conversations about representation, something that’s stayed with me about Rogue One is that last scene. You know the one: Darth Vader just kind of walking down a hallway.

The entire story up to that point was one movie and it ended with a beautiful and heartbreaking scene on a beach. Then, the second movie began. We didn’t really need to see this addition to the story — we could have easily guessed what happened next — but Disney / Lucasfilm gave it to us anyway and I am so glad they did.

I mean, you kind of knew how that bit was going to end, one way or the other, and yet it was still so enjoyable and, I think, legitimately scary. Why?

It’s a short horror film.

I think a lot about how many of the best movies are camouflaged genre films and I’m sure I’ve written some way-too-long posts on Facebook about it more than once, but let me start with a different point about that.

Jurassic ParkTerminator (and to be fair, T2 as well). Both great movies. Something that always strikes me about the recent sequels / soft reboots / whatever… is that they forget the originals were at their heart, horror films — or at least relied heavily on horror tropes — borrowing stylistically and thematically.

I mean, okay, I’m no horror or genre movie expert, but if I remember correctly, as a kid, Terminator was always in the “horror” section of the video store.

Point is, Jurassic Park even has campy jump-scares.

And even though the T-Rex runs after the heroes, the protagonists are in a Jeep — so the speed is relative… and it’s effectively a nightmare hallway scene, where they can’t quite seem to get away as the killer slowly gains on them (more on that concept later). They don’t shy away from it at all.

Jurassic WorldTerminator Genisys? They’re action movies. They traded in these kind of beautiful tension-building scenes borrowed from genre movies for robot explosions and a T-Rex fighting a genetically engineered super raptor. They abandoned telling the story well — in other words, matching how the story is told (form) to what the story is about (function) in favor of trying to make “a wild ride” or whatever.

Back to Rogue One. That last scene is one of the only times I’ve ever found Darth Vader legitimately scary on screen (O.K. maybe the ending of Empire — but not like this). I was so impressed with this scene. It could have easily gone the way of the prequels — Vader boomeranging his lightsaber all over the place, force-leaping half a mile, performing needless pirouettes, but instead, he just walks forward.

Which — kind of unrelated — is tonally similar to what I loved about the 2003 Clone Wars animated series. General Grievous, ironically unlike the weird coughing cartoon character we got in the movie, was a badass killer. He was legitimately scary. And the way they put together the scenes that centered him as a villain really emphasized that. They borrowed tropes and stylistic elements from horror.

Vader doesn’t move fast because he doesn’t need to (of course, canonically he can’t really). He just plods forward, methodically killing everyone in his path. Tell me you don’t see the T-800 in that. Or Jason. Or Michael Myers. I love it.

The scene is a perfect, self-contained piece of art. The protagonist has a clearly defined goal with an item (a classic McGuffin) tied to that goal. That one rebel needs to get the disc down the hallway and through the door, to safety.

Here’s what makes it a short horror film:

The door gets stuck. The lights go out. Smoke and mist rises. The antagonist — a killer villain — appears with a goal in antithesis to the protagonist’s. Between the two, there’s a group of protectors. They fight, the protagonist and his allies try everything they can to stop or escape the villain and achieve their goal until, as we build to the climax, a dramatic question becomes clear. Will the protagonist sacrifice his life to achieve his goal, or will he succumb to fear allowing the villain to prevail? He pushes the disc through the crack in the door, he tells his last ally to run — to carry on without him — and he sacrifices himself for the greater good.

Again, this scene has a really simple yet elegant structure, executed flawlessly. Protagonist wants to deliver the disc to safety: Thesis. Antagonist wants to prevent the delivery of the disc: Antithesis. Despite complications, obstacles, and ultimate sacrifice, the disc is moved to safety: Synthesis.

The protagonist achieves his goal, though not how he wanted to. Strengthening that journey, he had to sacrifice what he wanted (personal survival) to achieve what was needed (survival of the disc and therefore, the group).

We knew that would be the conclusion all along because we’ve seen A New Hope, but I think it’s still compelling because it’s so perfectly structured and so well executed — the form of the scene perfectly matching the function.

Even better, this scene is thematically a microcosm of the entire story that just came before it.

Using horror tropes and borrowing from that genre works so perfectly in this scene because that’s exactly what it is. It’s a survival horror. The protagonist in this scene is stuck in a confined space, trying to escape while being hunted by a supernatural predator. What about that doesn’t lend itself to horror?

More major releases should embrace this philosophy. Hollywood needs to respect the intelligence of audiences a little more and stop jamming stories into whatever genre they’re determined to make. Instead, let the story guide stylistic choices. They shouldn’t be at odds; they should reinforce each other. That’s when a movie becomes art.

Let’s circle back to that idea about the slowly advancing killer. This may deserve it’s own article, but personally, I can’t separate these ideas.

The more I thought about this scene, the more I also got to thinking about Vader in this scene and why that slow, plodding advance is such a scary thing as well as why it ends up in so many horror movies. I mean, aside from how common it is in the history of genre movies, one of the most acclaimed indie movies of the last few years is a horror called It Follows where the whole premise and plot boils down to that one thing: a slow but endlessly advancing death.

I remembered something I read online a while back about human beings (originally mentioned in the context of how human beings usually portray ourselves in Sci-fi). Here are some screenshots of those posts…

(If you wrote any of this and would like credit, let me know. I haven’t been able to find primary sources.)

Whoever thought up that last scene must have known about these ideas. And much like the scene itself is a microcosm of the movie, the choices made in regard to how Vader attacks his enemies are a microcosm of what makes the scene beautiful. The writers didn’t make the flashy choice, or the bigger, badder, more epic choice. They made the right artistic choice. They made the human choice.

So, in addition to everything else, why is that short film so good and so scary? I think it’s because this method of hunting is distinctly human. For all his force powers, the scariest thing about Darth Vader in that scene is that he just. Keeps. Coming.

Battlefront 2 Master Post

Alright so this is my master post I was wanting to make where I talk about battlefront 2, I attended the swco2017 battlefront 2 panel and was shown the “exclusive” content video after the main stream was cut to all the online audiences so I’m going to talk about that and basically everything else we current know about battlefront  

So first off the game is set to release nov. 17th 2017, the game can be played earlier by 1. purchasing the Elite trooper edition (79.99) which will allow you a 3 day early access to the game (nov. 14th) and or 2. by being apart of of ea access which is exclusive to x box one and origin on pc which will let you start playing on (nov. 9th).   

NO SEASON PASS (what could this mean?)  

Battlefront 2 (ea) will feature a single player campaign as well as up to 40 player multiplayer. It will spread across all eras including prequel, original, and sequel trilogies. Space battles have been confirmed as well as offline co-op for console editions. Classes are making a debut in this as one of the changes from their earlier installment in their battlefront games (2015) as well as a weapon modification system and abilities customization options.  

Prequel content 

So lets get right into the mix shall we? like most of you here I assume your biggest worry was the prequel content right? Clone wars was a huge part of my enjoyment for the other battlefront games from the 2000′s and my childhood in general; so the announcement of prequels being included in this immediately spiked my interest!    

(picture below is a scene from the trailer where it shows maul and yoda about to face off)

Even after seeing this though (which is the only prequel content shown in the trailer :’/ ) I was skeptical about the appearance of the clones, ideas worked around in my head about nasty ol’ EA making a hero only mode which feature prequel characters and while that would still be a step up from not having them in the game at all it really pissed me off because I want the clones dammit and those stupid little battle droids too. So after the stream cut off at swco2017 EA’s panel for battlefront 2 they told us to turn off our phones and that they would be showing us something exclusive to us. Basically a video of the dev team and their journey making the game riddled with secrets and bits of concept art and more information about the game. They also showed a slide show before this with bits and pieces of art for the games and both of those mixed with information I’ve gathered on my own will be presented now in this post. 

So back to the clones, are they making it into the game? YES THEY WILL! 

(picture above is a piece of concept art featuring clones some sporting jetbacks fighting a battle on the water planet of Kamino) 

Yes the clones will be apart of this game thank the maker! I was a little upset that no actually footage of them is shown or any actually close up art or models for them was shown but considering the games launch is still pretty far off I understand and will be patient.   

(picture below features a battle droid from the separatists side) 

However we did get a look at a game model for a battle droid! Which I am pleased to say looks very nice indeed. 

Okay so what about planets? Well Kamino is the only one we have a visual for sadly, however in the description for the “elite” version of the game available for pre order on amazon.com it is revealed that Theed will be playable as well (will we see the gungans???). 

Phase 1 clones are the only ones shown via art so no information about if we will see phase 2 clones is available right now that I know of unfortunately. But I for one am very excited at the prospect of clones in my battlefront game once again after 12 years. 

Original and Sequel trilogy content 

Lets take a look at some of the other eras, both the original and the sequel trilogy will have maps and troopers and verticals available for play in both multiplayer and single player (it was not discussed if any prequel content would make it into the single player but we will get into that later)  

(picture above shows kylo ren leading a group of first order troopers into battle on star killer base) 

TFA & TLJ content will be available in the game little is talked about what TLJ content will be shown in game beside the pre order bonus of bonus outfits for rey and kylo and some unique abilities and skins for the falcon and a TFO fighter? 

Maybe we will see Maz’s castle as a playable map? who knows. 

As far as the original trilogy content goes for multiplayer. We have Hoth confirmed, Yavin 4, Endor, Tatooine, and the main character (iden) of the single players home world Vardos 

(pictured about the new planet Vardos) 

Also something to be excited about even tho we are in fact seeing some reappearing planets from the earlier installment (2015) is that there are new details about the planets yet unexplored by DICE. Such as being able to ride the taun tauns! this might not sound like much but I loved riding them in the old 2005 installment of battlefront so this pleases me very much. 

(pictured rebel soldier riding tauntaun into a snow trooper)  

The scout trooper and tie pilot will be available as skins (or classes?)  I assume as both of them are shown in the trailer. 

(pictured above Iden and the inferno sqaud on endor in tie fighter like apparel) 

Okay so we got the OT, PT, & ST all taken care of as far as content so what else can we expect from this game that is new? 

Whats new?

Well new ground vehicles have been confirmed yet again via amazon description   

So we have tanks, what can be expected from this some of those glorious tanks from Battlefront 2 (2005) maybe? Only the future can tell.

We have an assortment of new weapons like the A280-CFE blaster rifle (used by mr cassian andor in rogue one) 

We have the return of the class system tho not as large as the 2005′s roster. Battlefront 2 (ea) will have 4 different classes with different play styles featured in their game specialist, heavy, officer, and assault. From my assumption assault will be the regular trooper type (battle droids, clone trooper, storm trooper etc.) and specialist will be things like scout troopers, bothans, assassin droids. Heavy troopers will consist of wookiees, droidekas, tfa heavy trooper and last but not least the officer class seems pretty self explanatory. 

(pictured from left to right specialist, heavy, officer, assault)  

Abilities and Customization 

One of the other new things that will be in this new installment is abilities. This will be the answer to the power up icons found as pick ups in the last game. 

The only ability that I have heard about is reys mind trick and kylo’s “force freeze” so we will have to wait and hear more about them.


As far as heroes go we will definitely be seeing Rey, Kylo, Darth Maul, Yoda, and Han Solo as been confirmed as well.  

(pictured below is rey running through a jungle or forest planet shown in the trailer)

Single Player Campaign 

There will be a single player campaign featured in battlefront 2 (ea). The focus of this campaign will be about a woman named Iden who is the leader of Inferno sqaud (yes that same one). The campaign will span 30 years connecting ROTJ to TFA and will center around Idens resolve to get revenge on the rebel alliance and it’s heroes for killing her emperor an for the most part destroying her empire “this is where the real war begins”. In the trailer shows of starkiller base are shown and her and the inferno squad dispatching rebels and numerous space battles both with rebels of the OT and ST. Also a very interesting scene of her holding luke skywalker hostage? with a DH-17. So pretty exciting right? it has been announced that this story will be CANON. There is also going to be a tie in novel for the game named Battlefront 2 Inferno squad and that comes out in July. The novel will take place 4 years before the game and give some insight into Iden’s background and life pre the events of ROTJ.

Now lets get into the content that was shown after the cameras went off. 

A lot of concept art was shown for various locations via computer screens people were working on as well as actual pieces shown to us one that I would like to talk about was a scene of the rebel troopers from ROTJ in which the infamous bearded trooper is seen. I thought this was interesting because the picture seems largely focus around the bearded trooper and as it’s been made aware Dave Filoni is currently working to try to make the fan theory that, that trooper is in fact captain rex from star wars rebels. So this brings up the question will rex be playable in this game? 

another piece of interesting concept art was a sea cave map? it’s hard to tell what planet this was on if I had to guess I would say naboo? but it could very well be a new planet. this piece of art was very beautiful though so hopefully it gets turned into a good map. 

There was lots of shots of places and models very obscured because you were looking at them not directly so it’s hard to say exactly what most of them are there very well could be a video of this someone snuck so you’re welcome to look for it to try and pick through it but as for me the only 2 real things that stuck out for me I just mentioned above. I would want to bore you all with my speculations on what obscure images in concept art could mean that I barely remember so I shall not. 

To round it all up 

I am pretty excited for this game, I was not so much pleased with the last installment in 2015. I was a stalwart defender of it during the announcement stage and even during beta stage but now that it’s all said and done and all the content has been released and it’s been left to rot on the servers I find myself forever bothered by why it was even made. If you want my personal opinion I believe DICE used the game as somewhat of a tech demo not only for this game but for Battlefield 1 which irritates me because I had so much passion for it when it was coming out and the return of battlefront even in the face of adversity. At the swco2017 panel tho I saw the passion of the devs when they talked about this game and I admit even in my doubt I still hold for this game to save myself from being dissapointed I believe this game will at least right most of the wrongs that were committed in the first game. 

I hope everyone who is excited for battlefront 2 or just wanted information enjoys my post about it, May the force be with you all.

Prequel: Azriel-Centric Stories Set Before ACOTAR (ch.3)

This is a collection of interconnected short stories about Azriel’s life before any of the events of ACOTAR through ACOWAR.



Time frame: 40 years after the War. 

Summary: The Prince of Adriata has been found dead in his sleep lying next to his wife, the newly crowned Princess of Adriata, Dorea. Knowing that the Night Court has a skilled spymaster, High Lord Narayan calls in a favor from Rhys. Azriel and Cassian offer to help investigate the death. Cassian may or may not accidentally destroy a building. 

(Note: This is the longest chapter yet and holds several clues to an overarching fic I’m working on. Remember that though these stories are spaced out and not posted chronologically, they are all interconnected. Enjoy!)

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anonymous asked:

Why does everybody hate George Lucas? I'm new to the fandom. What did he do?

Well personally I don’t hate him. Do I like him? No. Do I hate him? No. He ultimately created Star Wars so I’m grateful for that, I guess. But it’s a known fact that he wasn’t a good director (thus why ESB and ROTJ were directed by other men). He wrote the scripts and the original trio made do with the lines. They had a lot of autonomy and could change lines and tones of entire scenes and George allowed them to do it. This didn’t happen during the prequels, where the trio then couldn’t really change lines or really talk through the scenes with George (one of the reasons why Hayden Christensen gets a lot of criticism when he’s in fact a sweetheart who did his best). AND there is also the fact that the OT was so successful due to Marcia Lucas’ (George’s wife then) edition. She edited the original trilogy and she’s the one responsible for the movies that became so iconic and everyone loved. Without Marcia Lucas, we wouldn’t have Star Wars as it is. Also a point to the OT and one less point to the prequels: George divorced Marcia in between trilogies and it shows.



I ended up missing out on celebrating 7,500 for one reason or another, but I’m not going to miss 10,000! This is a huge deal for me and makes me so very glad that I can entertain this many people ;v;

To celebrate, I’m thinking of accepting doodle and comic prompts :3

To submit a prompt, you must do the following (if you don’t do the following your prompt will not be accepted no ifs, ands, or buts)

  • Reblog a comic from today until the milestone is reached (I’ll mention in the tags or the post which comics apply)
  • Tag that comic with either “doodle: [series name] [insert prompt here]” or “comic: [series name] [insert prompt here]”
  • Doodle prompts can be from anything, but Comic prompts need to be from something I’m familiar with (sorry - it won’t work otherwise :( If you want to know if I know a series, just check the list below or - if it’s not on the list - just ask!)
  • Make sure you only put ONE prompt per comic!
  • Make the prompts brief please. I get the feeling I’ll get a decent amount of them, so by default I’ll probably skip longer ones;;
  • You have to be following me at the time I’m choosing or your rompt won’t be counted (it makes sense - I’m celebrating followers after all!)

Once I reach 10,000 followers, I’ll pick a handful of the comics that I posted between now and then to check the tags of. From those, I’ll pick out the prompts that I think that I could do justice :>

In other words, please keep in mind that there is no guarantee that your prompt will be chosen. When I did a 500 follower celebration that already had me work on 68 pieces, so for 10,000 I very obviously cannot do all of them.

BELOW THE READMORE (sorry mobile >_<) IS A LIST OF SERIES (well, most of them) THAT I’M FAMILIAR WITH (aka ones that I can make comics from)

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Rurouni Kenshin Fight Sequence Analysis: Choreography

                                           Elements of Cinema

The most popular elements that passionate fans and dissenters of the RurouKen film trilogy all seem to agree on is that the action scenes are awesome. Dissenters usually say, “just watch it for the action.” This always struck me as a strange thing to say. I think it’s because it was always intended to be a slide against the film, as though to say, “The only thing the films did well was the action,” similar to how some might say, “Watch Transformers for the special effects.” 

This actually got me thinking, though. What makes a fight scene? If we broke down a fight scene to its cinematic elements, if we peek behind the curtains, what composes the fight scenes that everyone, including dissenters, would argue is this film trilogy’s strongest element? And to it’s fans, what makes it better than its competition? What did Team Otomo just get right?

The truth is, those questions are gateways to more questions; film is different from any medium because film is alive. It’s evolving, moving towards new directions, restructuring old words and phrases to create beauty and meaning in new ways. RuroKen is no different, but if we’re going to understand how these elements congeal together to create the magnificent and electrifying action sequences fans of this series are going to enjoy, we need to understand those elements in their own isolated contexts. There’s a lot to keep track of, and a lot of these posts will overlap with one another since film is collaborative, so always make sure to come back to previous posts to freshen up and see how things come together. 

Also, if we’re going to understand what Rurouni Kenshin does well, we sometimes need to look at how other fight scenes are crafted, sometimes to terrible results, which means we will occasionally be drawing on other fights from other films and TV shows.


The Dancers of Cinema: Choreography and Action Direction

This post MAY contain spoilers for the following: (you’ve been warned guys):

  • Game of Thrones Season 4
  • Rurouni Kensin trilogy
  • Star Wars The Phantom Menace

The most obvious and exciting element of any action sequence is choreography. This doesn’t always apply to just fighting; stunt coordination, chase sequences, and so forth, require very precise positioning between the actors and the camera to capture the intended effect of that sequence. To a choreographer, also known as an Action Director, designing a fight sequence can be more than just exciting violent titilaton; it can be a valuable lens of which to view our characters. 

The Action Director in our case is Kenji Tanigaki. Bringing his flair and experience from working in Hong Kong and Hollywood action films and working with some of the biggest names in action cinema such as Jackie Chan and Donnie Yen, Tanigaki-san works closely with Otomo to make sure that everything goes well and ensures the actors are perfectly safe. He is also responsible for making every action in the film cinematic and crisp visually. This can get very elaborate and set up varies between directors, but the end result, if done right, is usually incredible. Even his peers respect Tanigaki’s skill; look at this tweet from Gareth Evans, director of The Raid and The Raid 2. (Warning: Language)

First thing they need to make sure they have right is the casting and action team. The actors typically are the ones that need to do these moves to feel authentic. This isn’t universal and can vary depending on director or production team. This mostly commonly in American or Western productions as these actors are often high profile and the right actor isn’t always the best fighter even with training and 6 months isn’t enough time to make them look good. What’s worse, not training seriously can result in injury, which might interfere with scheduling for other shoots that actor may be doing.

In these sorts of productions, especially those with a tight shooting schedule, they will cast stunt doubles to do the more complex movements that the character might demand but the actors are unable or unwilling to do (Unless you’re Leo DiCaprio and your director is Alejandro Gonzalez Iñnarítu). Here’s an example. This is from Episode 8 of Game of Thrones, “The Mountain & The Viper” (Slight spoilers).

Originally posted by freakyharmony

Here is a set piece clothed with a flurry quick cuts of multiple angles (coverage) of a single piece of choreography done in several takes. We’ll discuss this particular editing style in the Editing section of my series, but the point is, it looks really cool. Pedro Pascal (The actor for Oberyn Martell, this particular character) begins and ends the shot, and it looks as though it were him the entire time until we zoom in. 

Now this isn’t necessarily bad or even terribly distracting if done right. It’s an insurance policy for the actors since fight choreography is extremely exhausting work and training for months on end might not be enough or even an option, especially for the tight shooting schedule found in the production of Game of Thrones. 

This small excerpt took a lot of designing, practice, and rehearsals, not just by the stunt team and the actor/double, but for the crew behind the camera. They probably had to do multiple takes, some with Pedro and some with his double, and edit it rapidly together. They also set up coverage from multiple angles for the editor to have as much footage as possible to assemble an acceptable cut. It’s pretty tiring work just for one seemingly tiny little throwaway and inconsequential piece of choreography.

That being said though, the small bit can show us a lot about the character of Oberyn Martell himself, so it definitely has a place here. Oberyn is pleasing the crowd, showing off his prowess to his audience and THE audience. He’s a bit of a cocky guy so it fits right in with his character in my opinion.

I bring this up to create a negative because this is something Otomo and Tanigaki ACTIVELY avoid. Let me explain.

In Otomo’s action scenes, the emphasis is more on the actors rather than the the movement of the character. His blocking (the arrangement/placement of elements such as characters and objects within the frame) for fight sequences mirror the standard coverage of a conversation with two or three cameras depending on the set piece. Once again, I’ll explain in detail later, but what this is meant to bring up is that his emphasis, as is the emphasis with dialogue scenes between characters, is character.

What I mean is that the camera is usually emphasizing the face of his actors along with their individual movements to show the audience their state of mind and also to show the audience that it’s the actors doing the movements.

 This helps increase immersion, as well as simplifies shooting because the cinematographer (Director of Photography or DP) has a bit more freedom to shoot naturally rather than manufacture angles where we can introduce a stunt double and return to the actor in editing. I refer back to my GOT example. The editing cuts between wide angle and long dolly shots to make sure we can’t see the stunt double’s face as we return to a medium shot before and after the little stunt is done is something Otomo isn’t keen on and neither is Tanigaki.

                     The Men and Women Behind the Moves

A fight sequence is a programmed dance, coordinated moves and visual cues that must be hit for maximum effect but to actually be effective, it needs to seem completely organic and representative of the person fighting. The fighting moves need to come from characters themselves and when done right can illustrate a lot about a character. 

When the choreography comes before the character and feels too rehearsed or unnatural, you can actually distract from the drama of the scene as well as offer no insight visually about the characters fighting. Consider the Star Wars Prequel Trilogy. 

This may look cool because its fast, the moves are flashy and elegant, but from this small bit of choreography and the entire fight itself, we can’t really tell anything about these characters. We know one’s evil because of the color of his light saber (we’ll discuss this in another post), but beyond that, we don’t actually know Darth Maul or how brutal he is, other than he’s ready to kill Obi-Wan’s master and does so. Aside from the cool costumes, there is nothing that visually separates these characters from one another in terms of skill or style. 

Compare this with  the first fight sequence of the first live action movie. Ya’ll know what I’m talking about.

Originally posted by suzuyajuzoo

This fight sequence delivered a lot of critical information we needed to know about Kenshin without him having to say a single word. In the opening text of the film, we’re told of the Battousai’s legendary cruelty, but to see it was a different story. His fighting style tells us three crucial things:

  1. He’s fully equipped to fight and overcome multiple opponents at once, emphasizing his use as an asset in the war effort. He’s fast and kills efficiently, stopping neither to torture or gloat. He neutralizes the threat as quickly as possible.
  2. He has high manuverability to get in and out of his opponents space, suggesting master level swordsmanship skills, especially since he is the only character in the entire scene that we’ve seen with this proficiency. 
  3. He economizes his movements, so there is no motion goes to waste signifying he is ruthless and very efficient in killing. Notice how in the gif above he cuts one opponent and it smoothly leads into him facing the next. He is every bit deserving of the legend we’re told in the opening text.  

Originally posted by suzuyajuzoo

The interaction he has with Saito in this scene shows us that they’ve had multiple inconclusive encounters on the field and Saito managed to survive them, subtly signifying to us that Saito is at the very least his equal, which becomes important given what motivates the forthcoming action scene 10 years later where he completely dominates Kenshin and cuts his shoulder with the Sakabatou. 

 This is an example of how fight choreography can go beyond being cool action and can actually be a tool to help tell the story (the second half of this series will be focusing on just that). 

Originally posted by sexe-fitness-problemes

Later in the film, after these two same characters reunite 10 years later and have a duel, Saito brutally overpowers him. In contrast to Kenshin’s manuverability and speed, Takagi-san designed Saito’s moves to utilize his weight as he’s physically taller and stronger than Kenshin. He’s not as fast but his strikes hold an insane degree of power as we see when Kenshin attempts to parry and Saito manages digs the blade into his shoulder. Saito gives Kenshin a significant amount of trouble and this piece of choreography shows us that Kenshin’s skills have greatly diminished from the opening action sequence. He’s rusty, and if he fought Saito for real, he’d likely die. This once again factors in the story as it sets up Jin-e’s plot at the end of the film to draw out Kenshin’s fighting ability through sheer anger by emphasizing the difference between Kenshin’s current skill and that of his former self.

Another example where choreography transcends its role of entertainment and spectacle and becomes a form of visual storytelling is when fighting Gein. Notice how Kenshin seems to be having trouble here, but after Gein begins to aggravate Kenshin, we get this:

We even get subtle foreshadowing as Kenshin cuts his nose. This foreshadows what he’ll do to Jin-e when he gives him a similar wound after Kenshin is slowly beginning to revert back to the mindset of his assassin days. Even if you don’t have subtitles and have never seen RK before, you can grasp what’s happening just from the visuals.

My absolute favorite example of how choreography can be a powerful indicator of characters and their state of mind is the final fight between Kenshin and Shishio. (The video is below, please check it out before reading on).

Let’s talk about this brutal bastard for a moment. This single fight right here lasts about 2 minutes in the film and to the amazement of everyone, it is one of the most brutal fights I’ve ever seen on film (and I watch A LOT of martial arts films). 

We see glimpses of his utter brutality earlier in the second film when we watch the flashback of Shishio at Toba Fushimi. 

This scene actually sets up about as much crucial information about Shishio as it did Kenshin:

  1.  He is ruthless and unrestrained; his moves emphasize the maximum amount of pain and brutality, ensuring suffering in his opponents before they die.
  2. He fights dirty, not being above using human shields and considers life expendable.
  3. He takes sadistic pleasure in humiliating his opponents, as seen when he stomps on an opponents head and presses their faces into the dirt as he brutally impales them.

When Kenshin-gumi finally arrive to challenge Shishio, we see Shishio’s choreography speak volumes about him.

In the small clip I’ve posted below, we can see that Shishio is psychotically brutal. He isn’t graceful or formal, he lacks all the elegance of Kenshin’s fighting style, and he is sadistically toying with his prey like a cat taunting a mouse. He is less interested in slicing Kenshin as in a formal duel and more interested in repeatedly bashing his flaming sword into Kenshin’s face or pummeling him into a pile of red-headed pulp. He makes no effort to dodge Kenshin’s moves. He reacts to the pain they cause, but instead of deterring him, they excite him. He isn’t above pulling dirty moves like slamming Kenshin repeatedly against a wall while chuckling, or biting a chunk out of Kenshin’s neck. He’s designed to be the exact opposite of Kenshin. 

Tanigaki, when planning a scene of this magnitude, needed  to take into account several elements that can impact what the audience needs to know about these characters. How long has Kenshin been fighting? Is he injured? Shishio, is he ready to fight? Is he reluctant, eager? How would Shishio fight? Does he fight with a flowery style like Kenshin? Is he evasive or does he just take hits and overwhelm his opponents? 

These kinds of questions are some that he needs to ask and work out with the director and actors on set to figure out the fight scene and choreography.  It’s not an easy job. After his stunt team performs it and does camera tests to show Otomo as well as be prepared to revise if Otomo and his DP want to place the camera in certain places, the set of moves are then taught to the actors who interpret them in the context of their character, and then perform them in excruciating detail. Just imagine he nightmare he went through filming the four vs one fight scene at the film’s climax. I think that fight scene deserves its own post some day. 

                                     Reality vs Cinematic Realism

As impressive as they may be, the final obstacle a choreographer must deal with is the camera. Some moves may be practical, but they don’t look good on screen. The moves need to test well for the camera, which is why there are cameras present during rehearsals. 

This helps the director and the cinematographer know in advance what the shot is going to look and give feed back to the Action Director to adjust certain moves if they don’t test well or are illegible on screen. That being said, sometimes this means certain moves need to be exaggerated, heavily expanded on, or redone entirely, which may not be in accordance to the real life basis of those techniques. The biggest example of this is actually a fan favorite technique… The Battoujutsu that Kenshin earned his name sake for.

This looks good. In real life though, this stance is incredibly impractical, and to help me illustrate that fact, I present you real life superhuman Iaido master, Isao Machii.

This is the real life Battojutsu stance. Notice how different it looks from Kenshin’s.

Originally posted by silenthill

This is the technique performed:

Originally posted by marshallastr

Why did Otomo and Tanigaki change it? I mean, it doesn’t look to bad right? This all ties in to how Kenji Tanigaki choreographs and speaks to the main element that TeamOtomo emphasizes throughout all of these action sequences: Drama. Drama comes first and in good cinema, drama doesn’t just stem from the writing; it’s also visual. Kenshin’s stance is very exaggerated compared to Machii-san’s because Hiten Mitsurugi was designed for the camera. This may be obvious to some, but remember that the next time we see a film with unrealistic choreography, it might be because it looks better. 

Don’t misunderstand though, Machii-san is extremely impressive, but on film, it doesn’t have the same gravitas or dramatic flair it does in RK. This is because Machii’s battojutsu is designed to actually kill; it’s a practical move with no room for flair.

 Tanigaki probably adjusted the stance because, arguably, it’s not as visually interesting and doesn’t work as well with the camera  because its much too practical and restrained. Otomo envisioned the Battojutsu strikes to carry a lot of narrative weight, and Tanigaki has to interpret that with considerations to the camera. You might think, “well, I thought Machii’s looked cooler.” Sure, you may be right, but it wouldn’t work on camera the same way Tanigaki’s “Sou Ryu Sen” does. How do I know? Because we actually do see Kenshin perform Battojutsu accurately.

Originally posted by pedroam-bang

This is what it would probably look like this in real life, which works for this particular instance. Our reaction is probably like Eiji and Misao’s in the background. But when Battojutsu becomes the point of the whole fight, the finale or the ultimate technique, it can’t look like this. It needs to be dramatic, it needs to be cinematic. Compare with this: 

It’s slow, the stance is heavily exaggerated but the tension rises. The slow moves emphasize this epic moment; because we know there’s going to essentially be an explosion of motion, the slow build up tenses us with anticipation. We know these two are going to go at it, and the exaggerated stance tells the audience visually, even if you have no clue what battojutsu is or looks like in real life, that this is serious and this moment is climactic. 

The choreographer doesn’t just have to adapt the movement of characters to look good on camera, they need to make every move cinematic to fit the tone of the scene. They need to design a move after carefully considering whether or not it looks good on camera. Multiple camera tests are needed in order to ensure they get the look just right and months of planning go in, just to film a tiny little scene like this battojutsu duel. Impressive, huh? 


                                               Final Thoughts

All in all, Rurouni Kenshin’s choreography and stunt team all work day and night to build an aspect of the visual language of this film. Their choreography spellbinds us, shows us insight to their characters, as well as sets up different tone, and whether we laugh:

Originally posted by takeruandcaterpillars

or cheer:

Originally posted by lynxyz

They are masters of controlling what we see and how we feel about it and if done right can create truly memorable drama without being tied down by dialogue. I have no doubt in my mind Kenji Tanigaki and his team are a large part of why this worked as they took what we loved from the manga and brought it to life with a wonderful stunt team and actors and we should applaud their efforts. 

These are some of the most exciting action sequences to make it to the screen, up there with Bruce Lee films, Ip Man, and the Raid movies. Great action, great drama, and great story telling; that’s what this is all about folks. And this is where I leave you to go work on the next installment; See ya guys!

                                             SPECIAL THANKS 

  • To everyone for reading
  • HYRK for giving me an avenue to write about this wonderful series. 
  • To the people who let me borrow their gifs. I know many of you worked so hard on them and they’re really helpful. 

DISCLAIMER ABOUT GIFS: A lot of the graphics I used are crowd-sourced. I got them from Tumblr’s auto-find system they implemented or on google. If you see a gif without proper credit and its yours and you’d like some credit, please contact me and I’ll designate everyone to your blog as well as give you a credit in this section of the post. 

Alien: Covenant

After a week of geeking-out in preparation, I went and saw the new “Alien” film with a buddy yesterday. In short, it’s good but not anything more than a greatest hits tape. It was clearly made in reaction to the, supposed, “middling response” to “Prometheus” (a film that’s certified fresh on RT) and it is 80% fan service.

In short, if you were one of the fanboys that thought “Prometheus” was too smart and you just want an explicit prequel/origin story of the alien with more of the same, you’ll like it. On the other hand, if you liked the bigger themes of creation and mystery in “Prometheus” you will be disappointed. Regardless, it’s a solid movie, but your expectations will determine whether you say “yay, aliens!” or “well, that’s more of the same.”

It definitely demonstrates that directors are no longer allowed a vision for their work and have to craft the next entry in their series based on the feedback of fanboyz on the internet. The fact that “Prometheus” made money and received positive reviews apparently paled in comparison to the feedback of nerds claiming it had “plot holes” (which doesn’t mean what they think it means) and “isn’t this a prequel? Where did the alien come from?” because no one can fill in the gaps with the info provided. Imagine if the internet had existed when “Blade Runner” was released. Ridley would’ve really felt bad about that one.

anonymous asked:

What would you say are your top 10 (or 5 if that's easier) Spuffy fics?

Mmmm okay so these are based solely on personal preference, not on quality (not that they’re not high-quality, but there are so many HQ Spuffy fics out there). Also, these are…not in order, I can’t rank them. These are just the ones I’ve read and reread the most.

Awake by Betty Cratchit - vague S4 setting, no Riley, softer side of Spike, denial!Buffy. 12k.

Le Belle Dame Sans Merci by Sigyn - Buffy interacting with Buffybot, S5 “Intervention”. 6k. Mild angst. Also part of a oneshot series - I can recommend all of them but this is definitely the one I read the most.

Skin on Skin by Nautibitz - Smutty and fun, S5 post-Riley. 10k.

Ahead of Her Time by haleycc - Can’t say much without spoiling the “twist” in the first few chapters, but time travel and denial make everything better. S5. 40k.

Five Words or Less by AGriffinWriter - Another long but goodie. S5 AU, which is my weakness, and this is a perfect one. 289k.

Incandescence by Annie Sewell-Jennings - S7, Buffy realizing her love, absolutely beautiful. Prequel “Illumination” is also well worth your time! 10k.

Forward to Time Past by Unbridled Brunette - S5 epic time travel fic featuring Spike and William. 270k.

Late Night Phone Call by dampersandspoons - S5 smutty phone sex with some hurt/comfort. Oneshot.

A Little Gratitude by coalitiongirl - Sweet late S5 goodness. Oneshot.

Rotting Corpse by slaymesoftly - Even more S5, 1k goodness. Also has a similar-sized sequel, highly rec’d.

Also, everyone will recommend you Barbverse (A Raising in the Sun and many others by the amazing Barb C/Rahirah), West of the Moon, East of the Sun by KnifeEdge, and Legions of True Hearts by Eurydice. They’re right. Those are essential reading!

So given how many AU style comics Marvel does where there are just weird one shots of things that aren’t actually canonical at all, why don’t we have these for Star Wars yet? There could be an entire series of AU non-canonical comics (either one shots or limited series) just to emotionally mess with us - like, a Rogue One one where Jyn and Cassian live and rebelcaptain is a thing, or prequel one where Anakin hadn’t gone dark and we see happy Anidala and them raising tiny Jedi twins, or a whole Force Awakens set of ‘what if this *other* random person of the week had turned out to be Rey’s parent’, or OT one of what if Luke had gone dark and Leia had to kill him? Basically every great overdone fan fic trope could be done in an official really well written comic but then *still* not be canon and they could either be 1) really dark and crazy 2) seeming a super happy fix it but then still turning out dark and tragic or 3) an actually super happy fix it that ends by reminding us that this is what could have happened, but in the end just didn’t. I think the third option is the most emotionally devastating actually but all three options would be something I would totally read and now that the idea is in my head, I’m really upset that they don’t exist.

10 Reasons why Blood+ is my favorite anime (yet)


1-The plot. It can be quite slow at first but once you’re caught in the story and the mystery it really absorbs you. There’s no distractions or filler episodes: each episode has a reason to be, either plot-wise or character development-wise.

2-The characters. Sympathetic, realistic, or hateful, the Blood+ cast has a variety of characters in age, race, nacionality, gender and species, and of course, personality. They are not archetypes or stereotypes, just real people (or chiropterans) who can perfectly exist in our world.

3-The protagonist. Saya is the BAMF of the anime heroines (no counting manga heroines): she isn’t only a badass herself, but she has her own character arc, has to fight against her own fears inspired by her compassion and love for her family. She may have a little black and white morality regarding the whole chiropteran vs humans issue but even that she overcomes at the end, thanks to her family and friends support. And unlike many other heroines, romance plays a very small part in her personal journey.

4-The villain. Oh Diva is such a badass awesome creppy yet tragic villain. You both despise her and pity her (or love to hate her). Her childish sadistic personality is creepy and inspires fear and hate both in the story and outside the story. She commites despicable and unforgivenable acts Riku can tell you and yet, deep inside she’s a girl who only wanted a family. She has a tragic past but she isn’t shoving it to another people faces (except to Saya in chapter 49) neither the narrative justifies her for it.Her demise inspires both “You deserved it, bitch!” and “BUAAAAHHH, SO SAD!!” reactions. And, unlike many female villains of recent times, she didn’t became evil because of romantic heartbreak or jealously of another woman’s beauty, but instead because mistreatment, torture and lack of education and love. Did I mention she happens to be my favorite anime villain?

5-The Greek/Shakespearen Tragedy aspect: Twin sisters separated from birth, one raised as a normal girl and the other is locked and treated like an experiment or guinea pig. They met and became friends for a brief time before becoming mortal enemies whose only priority in mind is kill the other, and yet, deep inside, they both love and want each other. Because despite everything, they’re still sisters. And don’t forget the whole fairy tale/Ophelia image that Diva transmits with the tower, blue roses, singing voice and madness.

6-Bonds are thicker than blood: The story emphatizes that adoptive families can be equally important and strong as blood families. Hence why Saya considers George, Kai and Riku her real family and their safety over her twin blood sister (although she deeps inside also loves Diva). Why Kai comes to love Saya as part of his family or romantically and why Riku and George consider Saya their sister/daughter even knowing she’s a chiropteran queen. And why Kai adopts Diva and Riku’s daughters and raises them as his own at the end.

7-Our vampires are differents. This kind have scientific support, are not dead living people, can reproduce, are matrilineal, their queens grow up until their teens, can survive with the sun…and yet, they’re more vampires than the ones of Twilight. Saya, Diva, their chevaliers and the Shiff kick Edward and Bella’s asses ALL the day. AND they can be pretty scary and dangerous.

8-Goes through history. From 1833’s France to Russian Revolution to Vietnam war to modern Japan, Saya and Diva and their chevaliers run through historical events and making them part of their own battle. If you are interested to know more about those periods thanks to Blood+, then this series left a great cultural initiative.

9-The soundtrack. Mark Mancina is a genius. This is perhaps one of his best works and I think that with the track “Diva”, Diva’s sad yet vengeful aria, he really surpassed himself. “Blood+ Grand Theme” and “Saya’s multiple themes” also deserve great merit for creating an epic yet emotional score that goes hand by hand with the story and the characters.

10-Love is in multiple forms. Either be romantic love and an undying loyalty (Saya and Hagi) or platonic love/friendship (Saya and Mao, Kaori, and lots of girls) or family love (Saya and her adoptive family, as well the kind of love that Diva desperately craved for) or comradeship (the entire Red Shield), love and strong bonds are always present and are the core of the whole story.

Bonus reason: The series leaves plenty of room to make a prequel or a sequel. There are still lots of mysteries regarding the chiropterans, especially the ones concerning Saya and Diva’s mother and the previous generation of queens (embodied in Nathan, who I have no doubt is Saya and Diva’s mom’s chevalier), and on the other hand, is intriguing to know how Diva’s twin daughters are going to grow up and how they will become aware of their heritage and the whole epic that was their mother and aunt’s battle between them and how they will afront the shocking truth of how they were conceived. Anime writers and producers, please release a couple of OVAs, and if not, fanfiction writers, do your work! 

Around The World. Tony Stark One-Shot.

Title: Around The World.

Pairing: Female Reader x Tony stark.

Prompt: Anon: Would you write a tony stark one shot? Maybe YNs a shield agent/avenger/ or like pepper to tony or something? And she and tony always had a flirty sarcastic relationship with each other as friends but like each other and then one night she thinks she’s alone in the tower while she’s singing&dancing in underwear/pjs to ‘around the world’ by Natalie la rose and he says to her after I wish you were&she’s like well I’d be happy to be&it’s all cute and possible smut but at least kisses pleas?

Triggers: Smut. Just some sweet missionary really.

Enjoy ;D

–Also, this is the technical prequel to Aggravation Before The Storm–

Keep reading

absolutely-generic  asked:

Do you have any other games that you've made?

Well prior to Persono 0, I made a Persona 4 Parody within the same series as the upcoming P0 so you can check that out if you want extra suffering. I personally feel the game was generally pretty okay, at the risk of sounding egotistical, but there is A LOT of flaws I’ve aimed to patch up in the prequel/sequel/what the hell the Persona 3 one is.

Prior to that though I made some… severely less impressive fan-games for another RPG Maker parody type game that I strongly urge everyone to not look into.


So this has bugged me for a while.

Sensitivity to the Force has a genetic component (see: midichlorians). There may be other components as well, I don’t know, but the point is that genetics is part of it - and those who cared in the Republic knew that.

But the Jedi, at the time of the prequels, were specifically supposed to not be in relationships. And as I understand it, any Force-sensitive found young enough was supposed to be taken away and trained as a Jedi. Which suggests at least one of the following:

  • No one with enough influence to change things actually thought about these policies.
  • The genetic aspect of Force-sensitivity was considered unimportant.
  • Jedi were expected to reproduce, but without emotion or connection.
  • The Jedi hoped to eventually extinct themselves.
5 Star Wars Spin-Offs That Need to Happen

Today, it was announced that Chronicle director Josh Trank would be directing an unnamed Star Wars spin-off movie, the second such film announced (Gareth Edwards is directing another set for 2016).

So far, the plots of both films remain unknown, although rumors suggest that one will focus on Yoda, and the other on Boba Fett and/or Han Solo. That’s all fine and dandy, but was I the only one hoping for something a little less obvious? 

If we are indeed getting Boba Fett and Han Solo movies, why not a couple of these as well?

1. Vengeance for Lady Vader

One fascinating but underused element from prequels was Padmé Amidala’s cadre of handmaidens; a group of women who were willing to put their lives on the line for the queen and later senator of Naboo. And while some were spotlighted—namely Dormé and the decoys Cordé and Sabé—they weren’t really given much of a send-off. Now that two of those actresses are big names (Keira Knightley and Rose Byrne), I would love to see some early Rebel Alliance action from these fierce ladies. I also see room for Mon Mothma and a new Queen of Naboo.

Director: Maybe I’ve just watched Sense & Sensibility too many times, but I’m thinking Ang Lee is the man for the job.

Starring: Keira Knightley, Rose Byrne, Naomie Harris, Dominic West, Jay Laga'ia, Genevieve O'Reilly, Keisha Castle-Hughes.

2. Rogue Squadron

Denis Lawson may be playing hard to get, but he’s too old anyway. One of the best things about the Expanded Universe is the X-Wing series, so why not see something similar committed to film? A more small-scale adventure about diverse, ragtag group of rebels surviving deep space dogfights and evading the Imperial fleet should be an easy sell to Star Wars fans, as well as an opportunity to see some female and non-human Rebel fighter pilots on screen. And if the Rebellion era is too tired, why not set the film in the 30-year period between Episodes VI and VII?

Director: Who is owning wartime movies right now? One woman: Kathryn Bigelow.

Starring: Michael B. Jordan, Natalie Dormer, Evan Peters, Lucy Liu.

3. Jedi Purge

So far, press for Episode VII has played up audiences’ nostalgia for the original Star Wars trilogy, but avoided callbacks to the prequels. While that’s understandable given their place in the films’ chronology, it would be nice to see a cinematic bridge between the two existing trilogies. Fan-favorite Expanded Universe characters like Quinlan Vos and Ahsoka Tano are still canon and still alive during this period. Throw in backwater planets like Nar Shaddaa and appearances from Shaak Ti (Angela Bassett?), and I will buy out the whole theater.

Director: A splintered group of gifted people on the run from a faceless, monolithic enemy? He might be swamped these days, but I’m thinking Bryan Singer.

Starring: Chloe Moretz, Joe Manganiello, Angela Bassett, Hayden Christensen, Rila Fukushima.

4. Knights of the Old Republic

While many of the plot threads established in Tales of the Jedi and Knights of the Old Republic are no longer canon, there is no reason why the dawn of the Galactic Republic and Jedi Order can’t be explored. Characters in the films have talked a lot about the Sith, but we’ve only ever seen two at a time. A film set 2,000 years ago at the height of the Sith Wars would not only be a visual spectacle, but also largely free of any existing continuity restraints.

Director: I think the man who gave us both Othello and Thor, Kenneth Brannagh, is the person for the job.

Starring: Lena Headey, Anna Paquin, Gaius Charles, Jackie Earle Haley.

5. Maul Vs. Kenobi

When Star Wars: Visionaries was released, the idea of a resurrected Darth Maul hunting down Obi-Wan Kenobi was just a step beyond fan fiction. But it became a reality with Clone Wars gave Maul back to us, cyborg legs and all. While it would have to retread some Clone Wars material, a small-scale revenge story that calls back the greatest Star Wars duel ever seems like an obvious sell. And hey, why not throw in a bit of Bail Organa and tween Leia?

Director: The man behind 3:10 To Yuma and The Wolverine, James Mangold.

Starring: Ewan McGregor, Ray Park, Sam Witwer, Joel Edgerton, Jimmy Smits.

humvees  asked:

Alternatively: trombley as anakin (whiney, i assume he hates sand, morally dubious), and Walt /could/ be luke, given he's a smol golden puppy who blows things up with a big gun and he's ""battling"" with the whole good/bad thing. He’s less whiney than early luke but im sure that could be arranged

Ooh, that works! I love it. Opening up this AU to the prequels as well as the original trilogy complicates some things, but I would be very happy to have a role for Walt other than “one of those rebel pilots who dies at the end of A New Hope.”

Mostly, as long as Brad and Ray are Han and Chewie and no one tries to make Nate be Luke, I’m flexible on the rest. :)